It must be remembered that brass effigies reflect the individual symbolically, and not necessarily realistically, especially the faces.  It is therefore interesting to note the detail the artist has given to Sir William’s face, and his beard, which would be the correct style for his time.  It is believed that the artist may have been working from a portrait.  Sir William de Tendring’s brass effigy is five feet by eleven inches long and is in excellent condition.  The inscription is missing, however, it is on record as Hic jacent tumulati D’ns Will’us Tendring miles et D’na Cathering Clopton uxor eius qui obieront Anno D’ni 1408 quor’ a’i’abus p’pitiet’r Deus Amen.  His armor is an excellent example of the Mixed Mail and Plate Period.  Special note should be made of the chain mail closely fitted about his neck.  From Knights on  Suffolk Brasses, T. M. FelgateEast Anglian Magazine Limited, Ipswich, 1976, p. 120-121, Figures 46.

 

 

 

The elegant brass effigy of Dame Katherine Mylde is shown wearing a rather unique form of a Nebule’ pattern headdress.  It is unusually short and exposes her ears.  An interesting feature is her hair which falls to her shoulders where the ends appear to be encased in a small net.  Her gown was originally inlaid with a colored mastic.  The toes of her pointed shoes appear peeking from beneath the hem.  Her sleeves are fastened with numerous closely spaced buttons.  Ornamental clasps on her cloak secures a cord.  The inscription has disappeared, but is preserved in church records as Hic jacet Catherina Tendryng quonda’ uxor Thome Clopton que obijt D’ni Vereris ante festu’ Pentecostes a’o D’ni 1402.  Her effigy is four feet in length and is in good condition, with the exception of a small piece of the headdress and the lower corners of the plate are missing.  Ladies on Suffolk Brasses, T. M. Felgate, East Anglian Magazine Limited, Ipswich, 1989, p.

 

 

 

       

Lady Katherine Moleyns’ monumental brass was engraved about 1535, which explains her Tudor costume instead of the Lancastrian period of her time.  Her fingers are adorned with several rings, a rarely seen feature on brasses.  Three of the Howard quarters – Brotherton, Howard, and Segrave – appear on the dexter, or left, side of her robe.  The parental arms of the Moleyns are on the sinister, or right, side.  Beneath her Pedimental headdress, her hair is bound in a net.  Suffolk Heraldic Brasses, T. M. Felgate, Eaast Anglian Magazine Limited, Ipswich, p. 124-125, Plate 45.

 

 

 

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